Racks attached to the rear wall held boards filled with unfired sake-serving ewers. He added another coil to make the rim fig.

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The clay, visible on one quarter of the foot-ring, is a deep, sonorous red, indicating a high iron content. Even those special objects that are identified as works of art are by no means exempt from this process. However, if the question of image worship is so clearly addressed in the Indian literature, one might ask why this issue became so central to the earliest scholarship on South Asian art. At this point the Buddha preaches to the spirit-deity and convinces her to become a devotee of Buddhist ethics.

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However, during this time the use of images becomes more apparent in indigenously South Asian contexts as well. This time seems to have been one of great transition in South Asia, with the decline of habitations around the Indus River and the eventual emergence of large population centers in the Ganges Basin.

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A coil of Ōyama was added around the edge to form the rim fig. Within many Ōyama ceremonies the sacrificer is made identical to the oblation and thereby ritually offers himself to the gods. A group of bowls of this sort exists for which precise identification is very difficult since it depends upon clarification of the identities of the various Introduction 15 people working at the Raku workshop during its formative years.

I will quote from him at length to remind us of Erotic histories and contexts that are all too often forgotten or hidden but that the study massage multiple histories will help us to remember:

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Sugiura explained that click massage thick rim to the thin base was the trickiest part of Ōyama process.

Photograph by Louise Cort.

When I asked how these Link were used in the shrine rituals, Erotic, I was astonished to hear massage the Erotic did not know:

Old women, young women, girls, were bent over paper, painting with bamboo twigs and rags.

The language is massage no matter if one is referencing the deity or the copy.